Akashic Library – Scenes in your Story

Perspective shifts, and You find yourself looking into a vast landscape made of books and floating strips of scenery from films. Within it walk Peter Fae and Calliope ….

“Oh wow” says Calliope. “What’s all of this?”

“It’s the place where pictures meet time.” said Peter, narrowly avoiding a fluttering scene of a house nesteld near the mountains flying by.

“Have you ever considered the nature of worlds? I have. I wondered at this deeply, at how our stories unfolded.”


“Yes. ” he said. “How they unfolded over time.”

“How did you learn?”

“Stories. It is always the stories that have taught me” he said, opening his fingers wide to show a misty image of a film set.

“What’s this?” Calliope asked, intrigued.

“It’s a film set in the Hollywood.” Peter replied. “You see, as I came to study the worlds of film I realized that those worlds were made from specific places on the earth. That by combining a variety of landscapes, seasons and other moments in time and space you could create a new world out of the parts. In film, they did just this, building the sets to those worlds through a layering of actual places in nature combined with illustrated and modeled creations to create a seamless reality – one that supported the characters and their story.”

“Well, in the Holy Wood, which is the actual landscape of our stories, this happens as well.”

“Because the Holy Wood is the mother of the Hollywood?” she says, and he nods in agreement.

“What links them together?”

Synchronicity. Where we arrive in the kairos of time, space, and the dimensions of our consciousness. The scenes in our life are like pearls on a string, and that string is the threadline of our life. The line-of-time that is our current self and it’s sacred path.”

“Yet what are worlds but a collection of scenes in succession?” he said as they walked towards the glittering city across the images of places below their feet. “In a film, worlds were created from locations strung together by the edits on the flimstrip. In life, worlds were created by locations strung together in synchrony.

So you’re saying that people’s worlds are made of the scenes in their story?” she asked.

“Yes. Just like a film. We are the central figure in our story, and that story moves through a world of synchronicities, moments in which things occur in space and time. Everyone moves through a world of synchronicities along the timeline of their story, across the locations they encounter along the way. When we look at this sequence over time a pattern emerges. We start to see the shape of our personal story and the world it moves through.”

“Our world?” she asked. “LIke our personal reality? Is that what you mean?”

“Take any movie, any book, play or other story.” he said. “There are always three things. Characters, Places and Events. The characters arrive in scenes with each other where something happens, and those scenes always take place somewhere. In some location in that narrative universe. As I came to realize, this concept, the concept of characters on location involved in scenes with each other, was drawn from real life. That the Hollywood was born from the real experiences of the Holy Wood.”

“How come people don’t see this?”

“They’re too close to it.” he said. “Too close in time and space to see the big picture. Life has to be lived to gain perspective on it’s substance. Plus, the majority of humans in this Age barely recognize the existence of the ethers, much less have a clarified view of their unfoldment over the chapters of their story.”

“I don’t understand. Why is that path so important?”

“Ah, because it is the rainbow road, the silver stream itself which takes us through the scenes and locations which make up our current reality. It is the means of passage between the worlds of the World Tree, all of which occur at very specific moments in time and space. Just like a character in a film.”

“Like how?” she asked.

“As I continued to witness those scenes, seeing the same people arriving in similar geographic locations in the outer world as well as the repetition of certain aka, I saw a pattern – a consistent elemental thing that was going on within myself and the larger collective. A skein to our stories.”

“As I did this I organized those scenes into the years of my timeline, gradually discovering the mythos and meaning beneath beats of my tale.”

“It is the rainbow road that we walk along that thread. It is the filmstrip of our life.”

“I had wanted proof, and here it was, sprawled out for me across a timeline of living myth! The scenes of my story stretched out along my timeline, the scenes knitted together into a world of anchored consistency, the patterns of sound in the ethers of space manifest as my living world!”

The scene changed then, becoming vaster, more expansive, the lines of celestial filmstrips stretching outwards from the silhouette of a human being in the distance.

“Is that … is that YOU?” asked Calliope.

“It’s Joshua.” said Peter. “Looking at the flimstrips of his own timeline. Finding the purpose within the path.”

“Ah but that’s the thing. The journey is defined by the horizon of our current perspective. By where we are at and what we can see from that position in space and time.”

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